The Exhibit Opening Reception

Thanks to all of you who made it out for the opening reception of Landscape Bodyscape. It was indeed a festive night. Food, drink, music, friends and art all in the same place, can life get any better than that! The gallery tallied 110 visitors for the evening.

The next day was pretty much a lost cause though, I was a vegetable. Think I spent the day watching golf and napping, emphasis on the napping part.

As you can see by the pictures, this gallery doesn’t have the plain white walls that most galleries use, but it works. In some cases, the artwork blends and flows with the walls, other times the wall color causes the art to pop right out. So, if you have a lot of art work that you want to showcase in your home, don’t believe that you need to restrict yourself to just light colored walls.
The exhibit is up through the 29th of September for those of you in the Ypsilanti area who would still like to stop in and look around.Thanks for reading and have a grand day!

Final Show Details

During the last five days, Dan and I, with the much needed help of loved ones, have been busy putting the gallery together. Painting walls, making walls, adjusting lights, moving furniture, cleaning, hanging, etc., all the wonderful things that go into a gallery exhibit.

Together, we have 70 pieces of art in our Landscape Bodyscape show. Image sizes range from 3.5×2.5” up to 36×48”

Those of you in the area, see you at the reception, Sept. 8, 5-7pm.

Have a grand day!

The Making of Blue Lady

Countdown! When the exhibit opening is less days away than fingers on the hands, the scrambling really begins. So much to do, so little time…. Anyway….

For today’s posting, I want to share with you a little about my process for the making of Blue Lady. I did this piece specifically for the Landscape Bodyscape exhibit. My intent was to make it a crossover for the two subject matters of our show.

This piece is done on Ersta, a 400 grit sandpaper that was originally made to be used for leather tanning, but then pastel and colored pencil artists discovered it. The down side that has concerned some of us is that the paper is not acid-free on the back side. (I’ve been spraying the back with a product to make it acid-free.) So the company that makes this paper now makes sandpaper called Uart that comes in 400 to 800 grit and it is acid-free.

Drawing on sandpaper does eat up the pencils, but having this extra “tooth” also allows for many many layers of color to be put down. Generally, I choose to use sandpaper when I want to work with tones first, as I did with this piece, by doing the entire project in grays, setting up the light and dark areas. This is also referred to as studying the values. Then I build the color on top of the gray values. By the time I get to the color, I already have a “few” layers of colored pencil on the paper. I followed this same process for another piece that will be in the show, Ray, At the Window. Upon completion, both of these pieces have fifteen or more layers of colored pencil on them. Time intensive, yes, but colored pencil artists can be a strange lot.

Thanks for reading!

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